[Film Review] The Falling (2014)

Being a woman can be terrifying. Puberty brings a rush of change to what was once stable and known; physically, emotionally and to the relationships around you. On top of this, add attending an all-girls school in 1969 England and you too might wish to swoon.

In The Falling, writer/director Carol Morley further explores ideas formed in her 2006 short film Madness of the Dance which examined different forms of mass hysteria through history and how ‘madness’ presents in normal people. The Falling is a more fully realised yet subtle exploration of these themes, while still retaining the dreamlike quality that permeated Morley’s earlier work.

We are dropped into the lives of Abbie Mortimer (Florence Pugh) and Lydia ‘Lamb’ Lamont (Maisie Williams), who are in the midst of a Jennifer’s Body style obsessive (bordering on sapphic) friendship. It is left ambiguous as to whether Lydia’s obsession with Abbie is purely platonic or romantic, but either way their relationship is at the forefront of the film. The chemistry between Williams and Pugh is incredibly believable and they create a very solid foundation to the film’s events. 

Williams in particular really shines as Lydia. The control she has over her body is beautiful, moving like a dancer while going through her fainting spells, creating an almost religious experience for both the girls around her and the viewer. She manages to blur her choreography and acting incredibly well, creating an eerie yet beautiful effect. The assembly scene is especially memorable. Balancing the supernatural with the sexual, a witchy mood it evoked which  juxtaposes  with the girls being in medical care. Morley expertly blends the grounded with the supernatural here and even as the fainting epidemic continues, it manages to stay fresh for the viewer. Almost subliminal flashes are added over clips of the girls collapsing, this creates a crescendo to the fainting and gives a supernatural air to the film which I personally enjoyed.

The Falling explores many themes during its runtime, which are all rooted in trauma. There is a lot for the viewer to think about, and it is impossible to unravel it all in the first watch (if at all). There is also plenty to relate to including sexual repression and assault, generational tensions, teen pregnancy and family strains. This could have made the film feel bloated, however Morley manages to avoid this through the art of implication.. A lot is left to audience interpretation, trusting in our intelligence and letting us form our own opinions, which is a refreshing change.

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he incest subplot between Lydia and her brother Kenneth (Joe Cole) would have been benefited from use of  implication rather than being fully realised in the final act. Thematically, it strengthens Lydia’s obsession with Abbie and how far she is willing to go to regain their intimacy. However, the sex scene only serves to alienate the audience from Abbie which I think was an important grounding aspect throughout the rest of the film. Additionally, there are musical transitions over scene setting clips of the school and characters which took me out of the film. While I appreciate why they were chosen, the  songs used are taken from the schools ‘alternative choir’ (beautifully sung by Florence Pugh) and feel too modern as an accompaniment.

Overall, The Falling is a beautiful and dreamy exploration of female trauma that manages to stay with you long after the credits end. Morley truly invites you to question and theorise about why the fainting is happening and whether this is due to mass delusions, asbestos in the school’s walls, or something supernatural. The ambiguity also adds a lasting intrigue, making multiple watches a joy. 

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